Decimus Laberius : the fragments by Costas Panayotakis

By Costas Panayotakis

It is a newly revised, serious textual content of the fragments attributed to the Roman knight and mimographer Decimus Laberius, a witty and crudely satirical modern of Cicero and Caesar. Laberius might be the main celebrated comedian playwright of the past due Republic, and the fragments of performs attributed to him contain the overpowering majority of the extant proof for what we conventionally name 'the literary Roman mime'. the quantity additionally features a survey of the features and improvement of the Roman mime, either as a literary style and as one of those well known theatrical leisure, in addition to a re-assessment of where of Laberius' paintings inside its ancient and literary context. this is often the 1st English translation of the entire fragments, and the 1st unique English observation on them from a linguistic, metrical, and (wherever attainable) theatrical point of view.

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Ad Ter. Ad. – Wessner; [Caes.  K; [Caes.  K; Diom. De arte gramm.  Wessner; I.  Bandy.  See also Cat. –; Petr. Sat. ; Quint. ; Apul. Flor. ; I.  Bandy; Choric. Apol. Mim. .  D E F I NI N G TH E ROM A N M I M E of the literary canon in order to maintain and reinforce the literary merit of its own intellectual preoccupations. In other words, the depiction of mime as low, trivial, and vulgar ensured the continuing existence of other literary genres (such as epic, oratory, philosophy, tragedy, and formal comedy) as high, elevated, and sophisticated.

Sixth century AD; see Maxwell Mime  no. ); Nicoll Masks –; and Beare Stage , –. On the scena ‘the theatre-platform’ see Isid. ; Amm. Marc. . . On the orchestra see Isid. – L. On the siparium ‘small curtain or screen’ see Cic. De prov. consul. ; Iuv. – and schol. Iuv.  Wessner; Apul. Met. –Fest.  L. v. ) see Cic. Pro Cael. –; Auct. de dub. nomin. – K. –Fest. .  I N T RO D U C T I O N to that of the ‘popular’ ones, or that the ‘literary’ mimes developed from the ‘popular’ ones and did not co-exist with them.

Dover Phronesis  () –.  L. Robert Hermes  ()  and Hordern Sophron  take the performance of ‘Dionysus’ and ‘Ariadne’ to be a pantomime. E. Hall, ‘Introduction’, in E. Hall and R. , New directions in ancient pantomime (Oxford )  is rightly sceptical. e. meals accompanied by visual entertainment, see the contributions of C. Corbato and G. Brugnoli in F. , Spettacoli Conviviali dall’antichit`a classica alle corti Italiane del ’ (Viterbo ) – and –; and C. P.

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